1、本課程為上下兩學期的課程。上學期主要以散文與詩的閱讀作為入口。「散文」是學生在大學以前接觸頻率最高的文類。從「散文」中的「我」開始，大一的同學可以開始去思考「文學」中的「自我」面貌，究竟為何？如何寫作一篇「非作文」式的「散文」。這其中涉及到如何想像自我？如何陳述自我？應動用到哪些感知材料？如此可初步構築出「文學」最基礎的一種形式邊界。上學期的後半段，則進入「詩」的領域。「詩」是直面文字,，與抒情、歌唱等本能有關，亦是文字高度藝術化的展現。藉由詩歌的引導，學生可以進入文字的遊戲，對文學的可能性展開多重的視野。本學期的課程著重在引導與創造，期望同學能藉此打破過去對「文學」的僵化想像，尋找自己的釋義。
2、下學期則進入小說與電影的閱讀。小說往往動用到歷史、新聞等各種敘事形式與材料，也涉及更為複雜的敘事技術。本課程將著重在小說作為一種虛構，如何在虛構的技術上，說一個已發生或未發生的故事。「小說」閱讀方法的提示，將有效地促使學生辨別文學、歷史、新聞等各種敘事型態不同的哲學性意義。後半學期則以文學所延伸的各種其他媒材的閱讀為主，希望透過更為立體的影像、音樂與田調等文本，能提供學生不同的刺激與思考。本學期課程著重在各種提問，期許學生能在大一的下半學期，訓練自己的文學思考能力。

1. This course is a course for two sessions. During the first period, the reading of prose and poems was mainly used as the entrance. "Prose" is the category with the highest frequency of students before college. Starting from the "I" in "Prose", freshmen can start thinking about the "self" appearance in "Literature". What exactly is it? How to write a "non-composition" essay. This involves how to imagine yourself? How to describe yourself? What perceptual materials should be used? In this way, a basic formal boundary of "literature" can be initially constructed. In the second half of the previous period, we enter the "poetry". "Pen" is a direct expression, related to instincts such as lyricism and singing, and is also a highly artistic manifestation of the text. Through the guidance of poems, students can enter the game of words and develop multiple visions about the possibilities of literature. The course of this school focuses on guiding and creating, and hopes that students can break the rigid imagination of "literature" in the past and find their own ideas.
2. In the next period, we will enter the reading of novels and movies. Novels often use various incident forms and materials such as history and news, and also involve more complex incident techniques. This course will focus on novels as a virtual structure, how to tell a story that has happened or has not happened in virtual structure technology. The tips of the reading method of "Novels" will effectively encourage students to distinguish philosophical meanings of different types of events such as literature, history, and news. In the second half of the year, the reading of various other media extended by literature is mainly based on reading. I hope that through more three-dimensional images, music and field tunes, it can provide students with different stimulation and thinking. The course of this year focuses on various questions, and students can train their literary thinking skills in the second half of their freshman year.

A班:該課程雖為大一共同必修課程，但對象是中文系的學生，故有其專業的考量。因此，授課內容，會配合中國文學發展的流變，使學生對中國文學的發展，從詩經、楚辭至晚清小說的概況，有基本的認識，另外，加強對文本的分析與解讀，能更細緻、深入文本的內涵，使學生具有專業的文學能力。
B班: 引導學生善用自我意識檢視:1.中國文學發展軸線2.文學教育的養成基礎3.將1.、2.架構成座標軸的思考模式辯正:文學創作環境的今昔變遷，是古鑑今？今光照古？
C班:本課程為中文系大一必修課程，亦為本系入門之重要基礎。學生甫入大學，學習方式亟待改變：必須由記誦式轉為思考式。本課程透過選文之講析，引導學生瞭解作品背後豐富之情感與深刻之思想，藉以幫助學生觀察現象、發現問題、深入思考，尋求通透之解答。對於學生從事中國文學之研究，具有一定之啟發性。
D班:本課程為一年級必修課程，內容以研讀中國現代文學作品為主，範圍涵蓋新詩、散文、小說、電影等，藉以培養學生現代文學欣賞與書寫能力，建立修習本系古典文學或相關現代文學課程之基礎素養。

Class A: Although this course is a common compulsory course for the first year of the first year, it is intended to be students in the Chinese department, so it has professional considerations. Therefore, the teaching content will cooperate with the changes in the development of Chinese literature, so that students will have basic understanding of the development of Chinese literature, from the generalization of novels from the simplicity, Chu Yuan to the late Qing Dynasty. In addition, strengthening the analysis and interpretation of text can make it more detailed and in-depth in the connotation of the text, so that students have professional literature abilities.
Class B: Guide students to make good use of their own consciousness and view: 1. China's Literature Development Rail Line 2. The foundation of the growth of literature education 3. Correction of thinking modes that structure 1., 2. Correction of coordinated axes: Is the past and present of the literary creation environment a thing of the past and present? Today's light shines on the ancient times?
Class C: This course is a compulsory course for the first year of Chinese Department and is also an important foundation for entering this department. As soon as students enter university, their learning methods need to be changed: they must be transformed from a memorization to a thinking style. Through the analysis of the selected articles, this course guides students to understand the rich emotions and profound thoughts behind the work, so as to help students observe phenomena, discover problems, think deeply, and seek clear answers. It has certain innovation in the research of students in Chinese literature.
Class D: This course is a one-year compulsory course. The content is mainly based on the study of Chinese modern literature works, covering new poems, essays, novels, movies, etc., so as to cultivate students' modern literature appreciation and writing skills, and establish the basics of the classical literature or related modern literature courses in this department.

葉維廉《中國現代小說的風貌》，台北：台大出版中心，2010。
王德威《如何現代？怎樣文學？十九、二十世紀中文小說》，台北：麥田，2008。
王德威《台灣：從文學看歷史》，台北：麥田，2009。
黃錦樹《謊言或真理的技藝》，台北：麥田，2003。
周樑楷，〈影視史學：理論基礎及課程主旨的反思〉，《臺大歷史學報》第23期，臺北：臺灣大學，1999年6月。
馬克‧費侯（Marc Free0），《電影與歷史》，張淑娃譯，台北：麥田，1900。
張世倫〈遲到的新潮、未竟的運動──「台灣新電影」的現代想像〉，《今藝術》2015年五月號。
焦雄屏《台港電影中的作者與類型》，台北：遠流，1995。
白睿文《光影言語：當代華語片導演訪談錄》，台北：麥田，2007。
白睿文《煮海時光：侯孝賢的光影記憶》，台北：印刻，2014。

Ye Weilian's "The Style of Modern Chinese Novels", Taipei: NTU Publishing Center, 2010.
Wang Dewei's "How to modernize? How to learn literature? Chinese Novels of the Nineteenth and Twentieth Century", Taipei: Maitian, 2008.
Wang Dewei's "Taiwan: Looking at History from Literature", Taipei: Maitian, 2009.
Huang Fengshu "Techniques of Words or Truth", Taipei: Maitian, 2003.
Zhou Qingkai, "The History of Film: Reflection on the Basics of Theory and Course Theory", "Taiwan History Journal" No. 23, Taipei: Taiwan University, June 1999.
Marc Free0, "Movie and History", translated by Zhang Shuwa, Taipei: Maitian, 1900.
Zhang Shilun's "The Way of New Trends and Unfinished Movement--The Modern Imagination of "New Taiwan Movies", "Today's Art" May 2015.
Jiao Xiongping's "Authors and Types in Taiwan and Hong Kong Movies", Taipei: Far, 1995.
Bai Ruiwen's "Light and Shadow Words: Interviews of Contemporary Chinese Film Directors", Taipei: Maitian, 2007.
Bai Ruiwen "The Time of Boiling Sea: Hou Xiaoqian's Light and Shadow Memory", Taipei: Printing, 2014.